Euan Edmonds - Beyond Hope and Fear

Label: Desafio Candente Records, 2024

Personnel - Euan Edmonds: trombone; Dustin Laurenzi: tenor saxophone; Clark Gibson: alto saxophone; Paul Bedal: piano; Sam Peters: bass; Neil Hemphill: drums.

Trombonist and composer Euan Edmonds makes a compelling entrance onto the jazz scene with Beyond Hope and Fear, a solid debut album where he establishes a vibrant front-line interplay with dynamic saxophonists Dustin Laurenzi and Clark Gibson. The ensemble is well-supported by a tight rhythm section featuring pianist Paul Bedal, bassist Sam Peters, and drummer Neil Hemphill. Now based in Washington, DC, Edmonds explores pure jazz territory with a sextet drawn from Chicago, where he previously resided.

The album kicks off with “Jordan and Maria”, a cohesive post-bop piece inspired by characters of Ernest Hemingway’s For Whom the Bell Tolls. Bedal’s piano riff sets the pace following a dreamy, romantic introduction. His chordal work reinforces the foundation for the unison melody, paving the way for engaging solos from Edmonds and Gibson, who cruise through the changes with horn fills subtly weaving through. A lively vamp for the drummer bridges the theme’s choruses. 

While “Violet” offers a moody contrast, suspended over a nuanced pedal point and fleshed out by Laurenzi’s penetrating tenor saxophone as it navigates a dense rhythmic forest. In turn, “Wayfarer” exudes a joyful bounce, recalling the vibrant, straight-ahead styles of Steve Turre and J.J. Johnson. This same exuberance and robust sound also define “Endurance”, with its deep groove and strong harmonic drive. 

The latter track forms part of Between Hope and Fear, a 30-minute, seven-part suite that showcases Edmonds’ artistic depth. The title track of the suite brims with expressive richness, underpinned by extraordinary piano and bass interplay. Laurenzi’s cutting-edge phrasing creates vivid sonic landscapes, blending precision with adventurous agility, while Bedal’s dropping pianism gives a strange, alluring detail to the playing. Another standout from the suite, “Axis”, opens with muted trombone and alto sax, constructing a soulful 3/4 harmonic progression. Featuring unaccompanied passages that spotlight the trombone and saxophones, the piece crescendos into an ecstatic finale, with the entire ensemble contributing to an atmosphere of opulent uplift.  

The closing track, “Arthur’s Seat”, channels strains of hard-bop balladry, journeying through classic traditions in a 3/4 time signature. Edmonds’ auspicious debut as a bandleader satisfies with elegantly texturized arrangements that underscore the power of genuine communication. His compositional voice is punchy and confident in promise.

Favorite Tracks:
01 - Jordan and Maria ► 05 - Between Fear and Hope ► 07 - Axis ► 09 - Endurance

Jakob Bro - Taking Turns

Label: ECM Records, 2024

Personnel - Jakob Bro: guitar; Lee Konitz: alto and soprano saxophone; Bill Frisell: guitar; Jason Moran: piano; Thomas Morgan: bass; Andrew Cyrille: drums.

With Taking Turns, Danish guitarist and composer Jakob Bro presents a fine compendium of engagingly layered compositions recorded 10 years ago in New York. This exceptional record features the late, legendary saxophonist Lee Konitz, with Bro weaving smooth harmonic tapestries alongside fellow guitarist Bill Frisell and pianist Jason Moran. Working on a consistently lucid rhythmic foundation are bassist Thomas Morgan and drummer Andrew Cyrille.

“Black is All Colors at Once” opens with the rippling pianism from Moran— who had never worked with Bro before—soon joined by contemplative, arpeggiated guitar layers. Konitz's saxophone melodies float delicately atop, while Cyrille’s understated brushwork provides a subtle rhythmic underpinning. Konitz exhibits his distinctively explorative phraseology throughout but takes center stage on “Milford Sound”, a poignant ballad narrative dedicated both to the late free jazz pioneer Milford Graves and the New Zealand fjord of the same name.

Surprisingly, on the open-ended “Haiti”, Konitz makes a rare appearance on soprano saxophone, adding a playful yet gentle touch to a piece that dances gracefully with amiable charm. The rhythm here suggests a flowing sextuple feel, contrasting with the {3+5} cadence of “Aarhus”. The latter track showcases the ensemble’s dynamic control and cohesion, offering a soaring perspective through its carefully crafted rhythmic drive. In turn, “Pearl River”, evocative of New York’s Chinatown and its Asian emporium, leans into more abstraction and suspension. Here, Bro and Frisell intertwine their guitars to create a beautifully sculpted, textural surface that invites deeper listening.

In “Peninsula”, guitars and piano contribute layers of detail that only add to the overall chemistry. Elevated levels of illumination and relaxation are easily found here, and restraint is a key element of all the tracks in this set. The sax-less closer, “Mar Del Plata”, delivered at a slow 3/4 tempo, is nothing short of stunning, with everyone circling around an endearing melody that refuses to come out of your head. 

Abounding in smooth, expressive gestures, Taking Turns is another fundamental touchstone for Bro’s radiating atmospheric style, marking an important phase in his career. It grows more enchanting with every listen, offering both warmth and introspection in equal measure.

Favorite Tracks:
02 - Haiti ► 05 - Pearl River ► 07 - Mar Del Plata

Ivo Neame - Zettalogue

Label: Ubuntu Records, 2024

Personnel - Ivo Neame: piano; George Crowley: tenor saxophone; Tom Farmer: double bass; James Maddren; drums.

Ivo Neame, a highly skilled British pianist and composer, is a name to watch closely. His tenth album as a leader, Zettalogue, stands at the forefront of the European jazz scene, showcasing music that is both complex and organic, characterized by odd meters, nuanced expression, and fluid rhythmic and harmonic transitions. The seven compositions on this album—including two revisited pieces—are richly textured and anchored by a sophisticated modern edge, drawing from a variety of genres. He is joined by invaluable regular associates, saxophonist George Crowley, bassist Tom Farmer, and drummer James Maddren, who together craft a compelling musical mosaic.

“The Rise of the Lizard People”, a track originally featured in Neame’s large ensemble album Glimpses of Truth (Whirlwind Recordings, 2021), opens the album with a lively, offbeat rhythmic cadence driven by an engaging piano riff. This wake-up call to the American people is marked by intricate parallel sax-piano lines and a freewheeling piano solo by Neame, filled with bold ascents and seamless landings. The following track, “Drone Yer Sorrows”, channels rhythmic inventiveness reminiscent of Chick Corea and Joe Henderson, blending Latin and post-bop influences. Crowley seizes the opportunity to shine, delivering fiery, dark-toned expressions. 

The dynamic title track, “Zettalogue”, evokes the sensation of a high-speed train racing through a smoky landscape. Tempo shifts mimic perpetual motion, conjuring the blurred scenery outside the train’s window. The saxophone’s multi-line effects elevate the melody, providing a sense of urgency and energy. In contrast, “The Trouble With Faith” offers a moment of introspection. This ballad creates space for reflection, balancing the album’s otherwise energetic tone with serene elegance.

“Pala” and “Être Sur le Train de Gravy” are standout examples of the quartet’s cohesive interplay, blending intricate meters with a focus on creative freedom within well-defined structures. The former, propelled by Maddren’s captivating drumming, originally appeared on the quartet’s album Moshka (Edition Records, 2018). The latter, a fresh modal creation, features Crowley’s commanding tenor saxophone, which soars with intensity and flair.

Filled with musical twists and turns, Zettalogue consistently surprises and delights, resonating deeply with the postmodern zeitgeist of the 21st century.

Favorite Tracks:
01 - The Rise of the Lizard People ► 02- Drone Yer Sorrows ► 03 - Zettalogue ► 05 - Être Sur le Train de Gravy

Zacc Harris - Chasing Shadows

Label: Shift Paradigm Records, 2024

Personnel - Zacc Harris: guitar; Brandon Wozniak: saxophone; Bryan Nichols: piano; Chris Bates: bass; Pete James Johnson: drums.

Minneapolis-based guitarist Zacc Harris has assembled a sure-footed quintet for his latest album, Chasing Shadows. Six of the eight original compositions were written during a five-day retreat in western Wisconsin, where Harris drew inspiration from the serene natural surroundings.

The album opens with its title track cut, a tribute to the interplay of light and shadow in the landscapes he encountered, as well as a nod to his young son, who once delighted in chasing his own shadow. The piece begins with a chord progression that contains mystery and doubt but then gradually verses into a more hopeful and lighter mood. Harris, saxophonist Brandon Wozniak, and pianist Bryan Nichols take turns within the improvisation section, expressing their thoughts with clarity and spirit while showcasing their inquisitive languages. They are backed by reliable rhythmic peers, bassist Chris Bates and drummer Pete James Johnson.

The tranquil waltz “Moonrise” gracefully sets the stage to the more elaborate “Catalyst”, a post-bop gem with an odd-metered rhythmic pattern established by Harris’s crisp guitar introduction. Influences of Kurt Rosenwinkel and Mark Turner shine through as Harris and Wozniak navigate the intricate melody and deliver fluid, inspired solos. Similarly, “Conduits” feels open-minded and clearly-eyed with its breezy, in-the-pocket flow, while “Worlds Apart” bears a sophisticated harmonic sequence, shaping up as a forward-thinking fusion of post-bop and bossa nova groove. It somehow brings to my mind the timeless charm of Joe Henderson’s classic tune “Blue Bossa”.

While the group rarely delves into abstract territory, they excel in creating cohesive narratives. A good example of the group’s effortless communication is the quick-witted “Fleeting Moments”, a contemporary hard-bop-infused cut that swings with a Tom Harrell’s vibe. “This Day”, a ballad, provides a serene closure.

Harris’ compositions are thoughtfully tailored to the strengths of his associates, achieving a strong emotional resonance with the listeners. Chasing Shadows offers a rewarding listening experience.

Favorite Tracks:
03 - Catalyst ► 05 - Worlds Apart ► 07 - Conduits

The Bad Plus - Complex Emotions

Label: Mack Avenue Records, 2024

Personnel - Chris Speed: tenor saxophone; Ben Monder: guitar; Reid Anderson: bass, synth; Dave King: drums, synth.

The Bad Plus, a quartet of first-rate musicians renowned for their genre-blurring compositions, returns with their latest album, Complex Emotions. Saxophonist Chris Speed and guitarist Ben Monder, who joined founding members bassist Reid Anderson and drummer Dave King in 2021, have become integral to the ensemble. Their second album as a quartet features eight original compositions—four by Anderson, two by King, and one each by Speed and Monder. Together, these pieces explore the individual compositional voices of the band members who rove beyond the confines of stereotyped jazz and rock to create something wholly distinctive.

The album opens with two Anderson-penned tracks. “Grid/Ocean” is smoothly laid down with a blend of wet and dry percussion timbres, a soulful melody that puts light in the horizon, and a circular pop/rock harmony. Monder’s guitar work dazzles, glowing with intensity as King’s cymbal flourishes build to an exhilarating climax. The next track, “French Horns”, is marked by an invigorating rhythm, drawing freely from alternative rock and featuring synchronized guitar-sax melodies, anthemic chordal patterns supporting Speed’s nimble improvisation, and a scorching, metal-inspired guitar solo by Monder.

King’s flair for rhythmic complexity and tricky meters shines on “Casa Ben”,  which, delivered with a progressive rock posture, showcases a killer theme centered on a dazzling descendant phrase, and variations of 10 and 12 beat-cycle passages. Speed’s “Cupcakes One” channels a punk rock vibe and a pop melody, elevated by Monder’s inventive solo. The track’s infectious rhythm invites listeners to move, much like Anderson’s expansive “Carrier”, a groove-laden piece driven by an off-kilter beat shuffle. Nonetheless, Monder and Speed provide a contrasting dreamy feel, creating a Mazzy Star-kind of melancholy, while Anderson’s bass shifts seamlessly from understated to commanding. 

The adventurous “Deep Water Sharks”, another Anderson composition, offers a vibrant krautrock-inspired groove filled with rapid ideas, guitar noise and scattered harmonics, as well as melodic fluidity. Speed’s improvisation injects further vitality into the track. The album concludes with Monder’s “Li Po”, an eery, atmospheric number filled with dark suspensions and continuous tension. Previously featured on Monder’s triple album Planetarium, this haunting piece feels tailor-made for a mystery or horror film soundtrack.

Complex Emotions solidifies The Bad Plus as a sensational post-modern jazz act. By forging fresh paths and emphasizing the distinct musical identities of its members, the album offers a compelling and multifaceted listening experience, confirming the quartet’s creative vitality.

Favorite Tracks:
01 - Grid/Ocean ► 02 - French Horns ► 05 - Cupcakes One ► 06 - Carrier

John Williamson - The Northern Sea

Label: Ubuntu Music, 2024

Personnel - John Williamson: double bass; Alex Hitchock: tenor saxophone; Jonny Mansfield: vibraphone; Jay Davis: drums; Immy Churchill: voice; Alex Wilson: piano.

The up-and-coming British bassist John Williamson makes a compelling entrance into the jazz world as a leader with his debut album, The Northern Sea. Featuring a talented roster of trusted collaborators from the modern UK jazz scene, the album presents 10 original compositions, ranging from tranquil ballads to invigorating swing pieces. Written over three years, each piece began as a melodic fragment, reflecting Williamson’s distinctive approach to composition, where melody takes precedence.

“Contrafact 1”, based on a C-major structure taken from the jazz standard “I Should Care”, showcases Williamson’s bass in a commanding lead role, setting the groove with a confident swing. On this number, Jonny Mansfield’s vibraphone ‘sings’ blissfully melodies, and Alex Hitchcock’s tenor sax explores with rhythmic provocation and articulated language. This theme of energetic interplay continues in “Contrafact 2”, a brisk, high-energy number where Williamson and drummer Jay Davis drive a relentless swing, with Hitchcock and Mansfield exchanging fiery unison lines. “Contract 3”, a chord-less, bop-inspired trio piece, strips things back to a classic saxophone-bass-drums format, emphasizing pure rhythmic and melodic dialogue.

The title cut, “The Northern Sea”, falls into a modern kind of daring, incorporating harmonically rich piano playing by Alex Wilson and thrilling exchanges between saxophone and vibraphone. The voice of Immy Chuchill adds a haunting dimension, reappearing on “2700 Q Street Northwest”, a radiant track that features a folk-inspired melody, vibrant interplay between piano and vibes for a colorful background, and an unaccompanied bass dissertation that exudes optimism.

More subdued moments are found in “Gozo”, a soft-spoken rubato ballad that soars in the ether with vibraphone suspensions; “Nothing Grows in Concrete”, a sensitively brushed lullaby inspired by Sibelius’ “Symphony Number 2”; and “Get Out While It’s Light”, another beautifully crafted ballad elevated by Hitchcock’s slippery tenor solo and occasionally stirred by Davis’ engaging drumming.

Throughout the record, the rapport among the musicians is palpable, enabling a seamless exploration of melody, texture, and emotional depth. The Northern Sea is a confident and promising debut that firmly establishes Williamson as a rising star in contemporary jazz.  

Favorite Tracks:
01 - Contrafact 1 ► 04 - The Northern Sea ► 10 - 2700 Q Street Northwest

Tom Harrell - Alternate Summer

Label: HighNote Records, 2024

Personnel - Tom Harrell: trumpet, flugelhorn; Mark Turner: tenor saxophone (#1,2,3,9,10); Dayna Stephens: tenor saxophone (#4,5,6,8); Luis Perdomo: piano, Hammond B3, Fender Rhodes; Charles Altura: acoustic and electric guitar (#2,3,5,7); Ugonna Okegwo: bass; Adam Cruz: drums.

Once again, American trumpeter and composer Tom Harrell makes the best use of tradition and modernity in jazz in his latest outing, Alternate Summer. A lyrical storyteller and prolific artist, Harrell maintains his reputation for producing high-quality work, consistently earning the admiration of his listeners. This new effort features ten new original compositions performed by a stellar lineup of collaborators—most of them familiar faces alongside a fresh addition—that bring Harrell’s distinctive style to life.

“Miramar” thrives on a staccato central melody set against a bluesy, groovy texture that supports inventive improvisations. Harrell’s classy statement bridges the realms of hard-bop and post-bop, while saxophonist Mark Turner and keyboardist Luis Perdomo contribute richly melodic passages. Turner’s blistering licks shine even brighter on “Peanut”, a post-bop tune with funk undercurrents, and “Alternate Summer”, a breezy ballad that exudes warmth.

Recording with Harrell for the first time, tenorist Dayna Stephens appears on four pieces - “Intermezzo”, an elegant, low-key 3/4 piece adorned by a wonderful bass solo by Ugonna Okegwo and Harrell’s heavenly reflections; “UV”, a shifting-meter blues that incorporates diffusing B3 organ textures, a sinuous yet intelligible electric guitar solo by Charles Altura, and a vamp for Adam Cruz’s pile-driving drums; “Chalcedon”, a lush post-bop piece with a captivating melody and in-the-groove work by Perdomo; and “Plateau”, which, unfolding with epic ambition, has a pulsating rhythm bassline charting the way forward.

“Wind”, one of the album’s standout tracks, is a serene modal composition anchored by an insistent pedal point and enlivened by unison trumpet-sax melodies and vibrant interplay. There are contrapuntal moves, and a more freeing, funkified texture in support of solos from Perdomo, Turner (who excels with his inside/outside tenor phrasing), and Harrell. For the latter’s improvisation, the band shifts to a 3/4 bossa-flavored groove. 

The album concludes on a high note with the intoxicating “Radius”, which evokes the spirit of Joe Henderson. Here, the ensemble engages in a rhythmically intricate and unfettered dialogue, showcasing their collective chemistry and virtuosity. With Alternate Summer, Harrell once again proves himself to be a masterful, articulate trumpet lead, delivering with precision and emotional depth.

Favorite Tracks:
04 - Intermezzo ► 06 - Chalcedon ► 09 - Wind ► 10 - Radius

Caleb Wheeler Curtis - The True Story of Bears and the Invention of the Battery

Label: Imani Records, 2024

Personnel - Caleb Wheeler Curtis: stritch, trumpet, sopranino saxophone, tenor saxophone; Sean Conly: bass; Michael Sarin: drums, Eric Revis: bass; Justin Faulkner: drums.

Following the authoritative statement of Heat Map (Imani Records, 2022), saxophonist and composer Caleb Wheeler Curtis returns with The True Story of Bears and the Invention of the Battery, a double album featuring two finely tuned trios that excel in free-flowing interplay and fluid structures. Curtis, who now has four albums under his belt, plays three different saxophones and trumpet here, employing overdubs to create moments of contrapuntal and synergistic stimulation.

Disc One features Curtis alongside bassist Sean Conly and drummer Michael Sarin, who provide alert support across nine originals and a solo saxophone rendition of Arthur Blythe’s “Odessa”, where Curtis’ lyrical grace in on full display. “The First Question” is set in motion by leisurely groovy bass lines and understated drumming, before saxophone and muted trumpet appear in parallel. The horns explore an unaccompanied, ruminative passage before Conly’s bass returns with rhythmic flexibility, adding a dynamic lift to the piece.

“This Cult Does Not Help” introduces a start-and-stop beneath a Monk-esque, propelling the trio into freebop territory as Conly’s swinging bass locks in with Sarin’s snappy brushwork. Curtis’ exploration of timbre conjures fluid melodic streams on both saxophone and trumpet. Offering a distinct mood, “A Feather is Not a Bird” gently dances through a simple three-note figure that repeats with hypnotic, contrapuntal intensity. 

The standout track, “Bears and the Invention of the Battery”, initially floats with soaring arco bass, effervescent drumming, and edgy reed and brass sounds. This later transitions into an electro-rock-inpired framework that, grooving and throbbing with spirited rhythmic displacements, features interesting improvisational ideas coming from Curtis. He maintains this zealous sense of direction on “Stellar Ray, See?”, building on top of methodic trap drums and inquisitive bass expressions. Sarin’s drum choices work like a charm and Conly’s resonant bass lines are enhanced by extremely tasteful patterns.

For Disc Two, Curtis enlists bassist Eric Revis and drummer Justin Faulkner for a set of ten Thelonious Monk compositions. Standout moments include the high-energy rendition of “Raise Four”, the gentle melodic clarity of “Reflections”, the infectious groove of “Oska T.”, and the blistering sax-over-drums manifesto of “Ugly Beauty”. Curtis also shines on “Jackie-ing”, balancing timbre, articulation, and inventive motifs with finesse.

Across both discs, Curtis sounds very much like himself, blending sensitivity and physicality. Each trio finds creative ways to explore their sound, making this album a distinct and valuable addition to Curtis’s discography.

Favorite Tracks - Disc One:
02 - The First Question ► 03 - This Cult Does Not Help ► 06 - Bears and the Invention of the Battery

Fabio Rojas - Perseverance

Label: Self released, 2024

Personnel - Fabio Rojas: drums; Greg Osby: alto saxophone; Gustavo D’Amico: tenor and soprano saxophone, flute; Kevin Harris: piano, Fender Rhodes; Osmar Okuma: acoustic and electric bass.

Venezuelan drummer and film composer Fabio Rojas showcases his wide-ranging stylistic interests in his debut album, Perseverance, a reflection on Venezuela’s transition from democracy to dictatorship, as well as the personal struggles that have shaped his musical journey. Rojas has been living in the US for 14 years, and now based in New York, he leads a boundary-pushing unit featuring legendary Greg Osby on alto and Brazilian Gustavo D’Amico on tenor, soprano, and flute. In order to support this excellent frontline, Rojas employed bassist Osmar Okuma and keyboardist Kevin Harris, contributing rich, prismatic textures across nine well-structured originals and a collective studio improvisation.

The album opener, “Ni Un Paso Atras”, thrives with a confident pace and powerful energy driven by Okuma’s snappy electric bass lines and Rojas’ aerodynamic pulse, complemented by dynamic fills. Harris’ piano riff, rooted in a chant of freedom from Venezuelan protests, provides a striking foundation before Osby dazzles with his inside/outside soulfulness over a seven-beat cycle filled with emotional charge. The following track, “Atlas”, keeps listeners in check, exhuming a tensile compression in its asymmetric harmonic flow. The band plays with tempo and speed while maintaining high energy, with standout solos from D’Amico on soprano and Rojas, whose scampering tom-toms and loose-limbed cymbals elevate the track.

Shaped with sophisticated sounds, “Homage AP” and “Loneliness” denote softer edges. The former, a dulcet folk-inspired waltz, is a tribute to Polo (a harmonic structure within Venezuelan folk music from Margarita Island), while the latter is a hip blend of jazz, smooth funk, and R&B. Once again, Osby’s narrative-rich soloing shines through.

“NU, Justice or Accomplice?” takes the form of a balladic complaint against the United Nations’ inaction in addressing Venezuela’s crisis. That’s before the group heads out into groovy territory with “Outro”, a piece spontaneously created in the studio, where Harris’ warm, shapely Fender Rhodes playing takes center stage. Rojas’ versatile drumming and the ensemble's dynamic horn activity add extra color. 

Perseverance is a shining example of collective effort that also contains brilliant soloing. Merit has to be given to Rojas in this debut, which establishes him as a drummer and composer to watch for future sonic explorations.

Favorite Tracks:
01 - Ni Un Paso Atras ► 02 - Atlas ► 04 - Loneliness

Isaiah Collier & The Chosen Few - The World Is On Fire

Label: Division 81 Records, 2024

Personnel - Isaiah Collier: saxophones, vocals, percussion; Julian Davis Reid: piano; Jeremiah Hunt: bass; Michael Ode: drums // Guests include Kentheny Redman: flute (#3,10), Corey Wilkes: trumpet; Ed Wilkerson Jr.: alto clarinet, and more.

Saxophonist and composer Isaiah Collier’s latest outing, The World is On Fire, is a passionate plea for change, using the power of his infectious music to address pressing global issues like racism, genocide, abuse of power, and injustice. Relying on the dazzling rhythm section of his flagship band, The Chosen Few, Collier continues his meteoric rise on the left side of the jazz spectrum with an album that urges everyone to stand up for what’s right.

The opening cut, “The Time is Now”, is an effusive modal piece energetically introduced by pianist Julian Davis Reid before bursting into a frenzied swing. Collier’s commanding tenor saxophone, evocative of jazz modalists like Billy Harper and McCoy Tyner, takes center stage with eloquence. Following Reid’s solo, it’s the drummer Michael Ode who hits with the force of a tornado. In “The Hate You Give is the Love You Lose”, the trio channels Pharoah Sanders’ spiritual energy, blending folk-like saxophone melodies with a brisk 3/4 rhythm that moves with raw intensity.

The title track, “The World is On Fire”, inspired by the Amazon wildfires, takes the form of a pure modal blues introduced by vigorous, blocky piano chords and crashing cymbals. An energetic riff spirals atop a manic, danceable rhythmic flux before some fierce exchanges between Collier and Reid. “Crash”, a reflection on economic collapse, pulses with frenetic energy, especially in a wild section where gusty saxophone squalls come upon a whirlwind of drums.

The quartet moves nimbly and confidently on “Ahmud Arbery”, a mournful mid-tempo 3/4 groover set on fire by visceral and urgent saxophone playing. Guest flutist Kentheny Redman joins for “Amerikkka the Ugly”, whose swinging posture and strong bluesy feel serve to express disillusion over the shameful attempt against American democracy on January 6th. Here, bassist Jeremiah Hunt delivers an emotional arco improvisation, infusing extra solemnity, while Collier takes flight on the soprano sax.

The quartet is expanded with revived positivity for the album’s closer, “We Don’t Even Know Where We’re Headed”, which, moved by a buoyant riff and lyrics by Kennedy Banks, incorporates layers of trumpet, bass clarinet, harp, cello, flutes, and multiple vocal harmonies. Collier’s clarity of vision and bold compositional approach shine throughout, making The World is On Fire a must-listen for fans of post-bop with vanguard jazz inclination.

Favorite Tracks:
01 - The Time is Now ► 05 - The Hate You Give is the Love You Lose ► 06 - Crash ► 09 - The World is on Fire

Brad Shepik - Dream of the Possible

Label: Shift Paradigm Records, 2024

Personnel - Brad Shepik: guitar, Bulgarian tambura, saz, banjo; Layale Chaker: violin; Amino Belyamani: piano; Sam Minaie: bass; John Hadfield: drums, percussion.

American guitarist Brad Shepik possesses a distinctly global musical identity, exhibiting a remarkable ability to seamlessly integrate music from diverse cultures into a post-bop context. Dream of the Possible, his ninth album as a leader, marks the return of his Human Activity band—now featuring an entirely new lineup—in a ten-part meditation on climate change.

The album opens with “Code Red”, where a vivid guitar figure sets the tone, followed by Amino Belyamani’s evocative piano chords, John Hadfield’s groove-driven drumming, and Sam Minaie’s breathing bass lines. Violinist Layale Chaker, born in Paris and raised in Lebanon, joins them, adding a rich melodic layer. Shepik’s guitar solo is lucid and deeply expressive, while Minaie delivers a brief, compact statement before supporting a vamp in five for Belyamani’s practical deliberations. The piece culminates in a unified riff. The following track, “The Search”, is a mid-tempo waltz with doleful folk inflections, composed for the migrants seeking refuge from environmental changes.

Shepik’s world fusion makes skillful use of odd meters in pieces like the title cut, “Future Generations”, and “Naturitude”. “Dream of the Possible” builds around a cyclic harmonic progression with dark undertones, driven by a propulsive beat that helps define its 5/4 time signature, while shifting figures spread over a more rock-inspired texture. In turn, “Future Generations” unfolds gently in seven, and “Naturitude” stands out with its exotic charm, revealing a 10-beat cycle over which Chaker gracefully showcases her sinuous melodic lines. A yawing shift in motion is carried out halfway for Shepik’s guitar solo.

Shepik and Chaker continue to blend their sounds beautifully on “Symbioticity”, offering a colorful, charming spin on Middle Eastern chants and rhythms with a collective center. The band, never dabbling and always to the point, shifts gears for “Travel Back”, which starts quietly before taking off with purposeful, invigorating movements. This number evokes nostalgia for a youthful past and a healthier planet, with Shepik navigating modes and key changes with aplomb.

Brimming with emotion and heart, Dream of the Possible combines thoughtful composition and emphatic sounds into a sincere plea for environmental action. I wholeheartedly stand with Shepik in this cause.

Favorite Tracks:
01 - Code Red ► 03 - Dream of the Possible ► 06 - Travel Back ► 09 - Naturitude

Immanuel Wilkins - Blues Blood

Label: Blue Note Records, 2024

Personnel - Immanuel Wilkins: alto saxophone; Micah Thomas: piano; Rick Rosato: bass; Kweku Sumbry: drums; Ganavya: vocals; June McDoom: vocals; Yaw Agyeman: vocals + guests: Cecile McLorin Salvant: vocals; Marvin Sewell: guitar; Chris Dave: drums. 

Blues Blood, the third studio album by the acclaimed alto saxophonist and composer Immanuel Wilkins, marks a significant shift in his artistic direction, revealing new dimensions in his compositional skills through a predominantly vocalized, multimedia performance about the legacies of our ancestors and the bloodlines connecting us. The album, inspired in part by Wilkins' childhood, features nine original compositions. Commissioned by Roulette and produced by Meshell Ndegeocello, whose influence is evident on several tracks, the album reflects a rich blend of musical styles.

The opening track, “Matte Glaze”, flows effortlessly, conjuring a relaxed neo-soul vibe with a delicate, earthly foothold in the groove. Wilkins delivers an intense solo over the vamping backdrop offered by the dutiful rhythm section—featuring Micah Thomas on piano, Rick Rosato on bass, and Kweku Sumbry on drums—while the vocals remain loosely tethered to the music. “Motion”, with a slick three time feel and vocalist June McDoom at the forefront, subverts expectations during Wilkins’ improvisation by setting a swinging motion against the dreamy atmosphere.

“Everything” begins with a forward-leaning 22-beat cycle before transitioning midway into a meditative lament, highlighted by Ganavya’s ethereal quarter-tone-infused chanting. She happens to be a wild card here, leaving an indelible mark again on “Afterlife Residence Time”, in a soulful passage in seven that evokes a ritualistic work song with an Eastern flair. This number, which begins in a straightforward 4/4 time with dynamic drum fills and solos by Wilkins and Thomas, also guests Marvin Sewell on acoustic guitar. The quartet picks up the same groove for “Mosphit”, a spiritual instrumental journey that opens new doors for the soul.

Renowned jazz singer Cecile McLorin Salvant adds a delicate narration to “Dark Eyes Smile”, a breezy 3/4 tune driven by soft brushes and an understated bass solo. The album concludes with its title track, “Blues Blood”, a chameleon-like piece that finds fresh avenues in Wilkins’ multidimensional compositional wizardry and stylistic versatility. Beginning as a vibrant neo-bopper with angular and curved shapes, the track takes a bold turn as Sewell injects a feisty rock energy with his electric guitar, before culminating in a gospel-infused finale with the vocalists reaching ecstatic heights.

Wilkins provides pure silver fluidity in musical conversations full of inspired moments and sophisticated interplay. His deep sense of joy and ethos infuses the album with heart and soul, creating a work that stands apart. In the words of its creator, Blues Blood is intended as a soothing balm for everyone searching for peace.

Favorite Tracks:
01 - Matte Glaze ► 04 - Everything ► 09 - Afterlife Residence Time ► 14 - Blues Blood

Alex LoRe - Motivity

Label: Weirdear Records, 2024

Personnel - Alex LoRe: alto and C melody saxophone; Thomas Morgan: bass; Johnathan Blake: drums.

Saxophonist and composer Alex LoRe delivers a cool-toned tradition-leaning album with Motivity, where he showcases a musically inclusive spirit, paying tribute to one of his mentors, the late saxophonist Lee Konitz. Assisted by the powerful rhythm section of bassist Thomas Morgan and drummer Johnathan Blake, LoRe navigates his originals, one composition by Konitz, and three standards with grace and spontaneous ease.

The album kicks off with Schertzinger/Mercer’s “I Remember You”, executed with an openhearted, Konitz-like subjectivity, effortless swinging feel, and engaging improvisational exchanges. The influence of Konitz is unmistakable on the inquisitive “Like-Lee”, where fluid motion allows space for classical lyricism to emerge within the jazz lines. The piece is propelled by skittering drums and vamping bass processions. Konitz’s own “Thingin’” is a richly harmonic post-bop piece that, following a dedicated saxophone intro, offers an upfront bass solo as well as spirited bar trades with the drummer.

“A Weaver of Dreams” radiates eloquent melodicism in its fairly straight-ahead setting, making for a fine companion to “’Tis Autumn”, which ascends with a heavenly melody, softly propelled by brushed drums. While these artfully executed standards sound familiar, the more striking moments come from the originals, particularly “Free” and “Overly Sentimental”. The former is a lush, spaced-out spontaneous piece that invites listeners to explore its curious, enigmatic tones. The latter, a contrafact on “I’m Getting Sentimental Over You”, swings infectiously, with LoRe overdubbing himself on C melody to create bop-ish polyphonic surprise.

LoRe brings a mature and thoughtful musical perspective to Motivity, and his tribute to Konitz feels genuine and well-crafted. However, one might wish for more original material. This impression should not be a problem for fans of Konitz, who may enjoy the stylistic nods paired with LoRe’s personal new views. 

Favorite Tracks:
06 - ’Tis Autumn ► 07 - Free ► 08 - Overly Sentimental

David Weiss Sextet - Auteur

Label: Origin Records, 2024

Personnel - David Weiss: trumpet; Myron Walden: alto saxophone; Nicole Glover: tenor saxophone; David Bryant: piano; Eric Wheeler: bass; EJ Strickland: drums.

Trumpeter and composer David Weiss assembles a dynamic sextet for his latest album, Auteur, featuring both longtime collaborators—alto saxophonist Myron Walden and drummer EJ Strickland—and fresh voices like pianist David Bryant, tenor saxophonist Nicole Glover, and bassist Eric Wheeler. The album showcases seven passionate tracks, including five original compositions by Weiss and two previously unrecorded pieces by jazz greats Freddie Hubbard and Slide Hampton. 

Weiss’ fiery post-bop composition “Too Little, Too Late” opens the album with a vigorous tone and pace. The three horn players each take turns  soloing, starting with Walden, who alternates between staccato-infused motivic ideas and fluid, lyrical phrasing. Weiss follows with a continuous, agile flow of notes, blending bop hooks with a remarkable fluency, while Glover contributes a more contemporary edge. Bryant, a powerful presence whether soloing or comping, rounds off the improvisational sequence, and opens the next one, “Resilience (for George)”, a tribute to pianist George Cables. Weiss’ leading trumpet has plenty of melodic back up from the saxophonists during the theme statement.

“The Other Side of the Mountain” displays translucent cymbal washes at the outset, painting a mix of contemplative and lively scenery before becoming rapturously Coltranean. “With Gratitude (for Wayne)”, an homage to saxophonist Wayne Shorter, traverses three sections with slightly funky passages and generous emotional touch.

Freddie Hubbard's unrecorded composition, “Rebop” channels the high energy of Art Blakey's Jazz Messengers, with Strickland taking an active and animated role on the drums. “One For Bu”, penned by trombonist Slide Hampton as a tribute to Blakey, takes off with an irresistible modal bop energy, featuring amazing horn fills during the solos, in a harmonious arrangement that highlights the sextet’s cohesion.

Auteur provides such an intense experience that might leave listeners craving a moment to breathe, but the sheer energy and musicianship on display make it a compelling journey from start to finish.

Favorite Tracks:
01 - Too Little, Too Late ► 02 - Resilience (For George) ► 07 - One For Bu

Peter Bernstein - Better Angels

Label: Smoke Sessions Records, 2024

Personnel - Peter Bernstein: guitar; Brad Mehldau: piano; Vicente Archer: bass; Al Foster: drums.

Guitarist and composer Peter Bernstein, who blew my mind with albums such as Signs of Life (Criss Cross, 1995) and Strangers in Paradise (Tokuma Records, 2004), returns to the quartet format with Better Angels, after two trio sessions with Larry Goldings and Bill Stewart. For this release, Bernstein assembled a multi-generational ensemble featuring longtime collaborator and renowned pianist Brad Mehldau, bassist Vicente Archer, and legendary drummer Al Foster, with whom Bernstein played before but never recorded.

The album kicks off with Bernstein’s “Perpetual Pendulum”, a slow-burn groover that first appeared on his 2022 trio album of the same name. The track blends dulcet melodicism with an elegant, swaying pulse that lays the foundation for the soloists. Bernstein’s signature lyricism convenes bluesy phrasing and jazz coloring filled with chromaticism, while Mehldau’s logic narratives include chained melodic ideas that rise and fall with passion.

Tracks like “Ditty For Dewey” and “Hazel Eyes”, dedicated to family members, achieve a pleasing balance, with the latter being a richly textured ballad. “Better Angels”, likely inspired by Bernstein’s children, is a suave, in-the-pocket 3/4 piece where to Mehldau brings delicate trills, breaking points, and subtle dynamic shifts. Bernstein also delivers two solo performances: Mel Tormé/Robert Wells’s “Born To Be Blue” and J.J. Johnson’s “Lament”. The latter, introduced by a strikingly dissonant chord, stands out as the guitarist weaves together improvised melodies and harmonic coloration with keen sensibility.

The album’s two standards offer contrasting impressions. While “You Go to My Head” remains a straightforward, perhaps unsurprising interpretation, Duke Jordan’s “No Problem” emphasizes atmosphere and rhythm. Foster drives the track with a bubbling bossa groove, eventually trading eights with the band to close out the tune in style.

Better Angels is a smooth jazz album that simmers rather than boils, presenting familiar jazz elements while occasionally enchanting with its refined sonic treatments and thoughtful arrangements. Though far from groundbreaking, the album shines in its moments of graceful nuance.

Favorite Tracks:
01 - Perpetual Pendulum ► 07 - No Problem ► 08 - Lament

Walter Smith IIII - Three of Us Are From Houston and Reuben is Not

Label: Blue Note Records, 2024

Personnel - Walter Smith III: tenor saxophone; Jason Moran: piano; Reuben Rogers: acoustic bass; Eric Harland: drums.

Saxophonist and composer Walter Smith III, who has been quietly pumping out excellent records as a leader, opted for writing less in his latest recording, Three of Us Are From Houston and Reuben is Not, a tribute to his hometown, Houston, Texas. The saxophonist, always clear in the ideas and strong in the emotions conveyed, gathered the protean rhythm section that supported saxophonist Charles Lloyd - pianist Jason Moran, bassist Reuben Rogers, and drummer Eric Harland - and humorously informs who is from Houston and who’s not. Rogers hails from the Virgin Islands. 

The record opens with “Seesaw”, a medium-fast post-bop tune in 3/4 time, whose staccato melody oozes charisma. There’s a sense of urgency in the arrangement, with serpentine lines floating over a rich harmonic progression. “Gangsterism on Moranish” tips its hat to Moran’s Gangsterism composition series, beginning with a plaintive sax figure that is followed closely by the pianist. They develop it from there with creativity, delivering soulful solos that emphasize the middle range.

The driving intensity of “24” channels the spirit of Sonny Rollins, with sparse bass comping and continuously active drums laying the groundwork. Later, Moran matches the energy, responding adequately to the rhythmic stimuli by harmonizing freely. “Cézanne”, a post-bop piece named after the iconic Houston jazz club rather than the French painter, offers another elegant post-bop canvas for the group to swing hard with unbridled energy.

The album’s only cover, Sam Rivers’ “Point of Many Returns” delivers a vibrant dose of freebop, filled with joyful improvisations and suave interlocking passages. After an energetic outpouring like the one mentioned above, Smith isn’t afraid to step back and provide quiet moments of contemplation. “Montrose Nocturne” emerges as a reflective ballad but builds into moments of fervent interplay, with Moran demonstrating his mastery of inventive piano dynamics. The pace picks up again and the mercury rises with “A Brief Madness”, featuring breathtaking unison lines played at remarkable speed. The album closes with “Lone Star”, a soul-stirring country-tinged ballad written for Moran, which unfolds as a tender sax-piano duet.

Showcasing elevated levels of musicianship, the album is seasoned with high craft and warm radiance, solidifying Smith’s reputation as a formidable force in modern jazz.

Favorite Tracks:
01 - Seesaw ► 07 - Point of Many Returns ► 10 - A Brief Madness

Kris Davis Trio - Run the Gauntlet

Label: Pyroclastic Records, 2024

Personnel - Kris Davis: piano; Robert Hurst: bass; Johnathan Blake: drums.

Pianist, composer, improviser, and label owner Kris Davis has been forging her own distinctive path in the creative jazz scene, earning widespread acclaim. In Run the Gauntlet, Davis returns to the piano trio format for the first time in a decade, teaming up with seasoned bassist Robert Hurst and sensitive drummer Johnathan Blake. The album pays tribute to six extraordinary women pianists who have profoundly shaped her sound and influenced her musical direction: Geri Allen, Marilyn Crispell, Angelica Sanchez, Carla Bley, Renee Rosnes, and Sylvie Courvoisier. 

Straddling the line between post-bop and avant-garde jazz, the title track, “Run the Gauntlet”, opens with a palpable tension, featuring odd-metered ostinatos that weave in and out over the rhythmic turmoil of bass and drums. The piece gradually finds a groove, with dynamic shifts and tempo changes, as the trio delivers head-spinning improvisations. Blake's drumming intensifies the conclusion by erecting a massive wall of snare, cymbals, and toms. “Knotweed” hints at prog-rock in its initial moments before slipping into Monk/Coltrane territory in its firmly outlined head. The trio swings with humor and grace, pushing the piece into a frenetic avant-garde finale.

Davis rarely delves deeply into jazz tradition, but when she does, the result is forward-leaning music sculpted with charm and spontaneous creativity. Her prepared piano takes on world music influences in “Softly, As You Wake” and the freely improvised “Subtones”, both of which feature deep, resonant arco bass and gamelan-like rhythmic pulsations. The latter piece evolves into a freewheeling, groovy atmosphere, bearing a resemblance to the meditative version of Blake’s “Beauty Beneath the Rubble”, while its original version takes on the form of a tranquil rubato hymn, gently brushed to a shimmering finish.

Davis also composed a three-part composition inspired by her son’s growth. “First Steps” is a solo piano piece that balances passion and detachment, offering pulse, motion, and freedom. “Little Footsteps” brings a snappy polyrhythmic feel that, borrowing from funk, also draws from electronic and modern creative jazz, with Hurst’s dancing bass lines blurring the boundaries between these genres. “Heavy-Footed” centers around a riff set within a 10-beat cycle that occasionally slows, striking a balance between jagged and smooth edges. Each note played emerges beveled.

The trio is clearly having fun in Run the Gauntlet, a mature, boundary-pushing record made by adventurous instrumentalists whose rapport is no less than wonderful.

Favorite Tracks: 
01 - Run the Gauntlet ► 04 - Little Footsteps ► 08 - Knotweed

Geof Bradfield - Colossal Abundance

Label: Calligram Records, 2024

Personnel - Geof Bradfield: tenor saxophone, bass clarinet, mbira; Greg Ward: alto saxophone; Anna Webber: tenor saxophone, flutes; Ben Goldberg: clarinet, contra alto clarinet; Derrick Gardner: trumpet; Russ Johnson: trumpet; Norman Palm: trombone; Momo Hasselbrink Seko: french horn; Scott Hesse: guitar; Clark Sommers: bass; Dana Hall: drums; Gregory Beyer: berimbau, mbira, marimba, percussion.

Chicago-based saxophonist, clarinetist, and composer Geof Bradfield assembles a top-notch crew for his most ambitious album to date, Colossal Abundance. This project serves as a meditation on the complex interplay of wealth—material, intellectual, and spiritual—and the poverty that contrasts it in today’s world. Bradfield’s tenth album as a leader straddles contemporary jazz while drawing from a rich palette of influences, including African music, southern blues, Caribbean grooves, and more.

The journey opens with the folk exoticism of the traditional Shona mbira song “Mahororo”, a mbira-berimbau piece that reflects Bradfield’s curiosity for and connection with the Zimbabwean music. This world music vibe is soon transferred into John Coltrane’s classic “Lonnie’s Lament”, reimagined with a sextuple meter that shifts to cushion a soulful, Grant Green-like solo from guitarist Scott Hesse. Following him are Bradfield, whose tenor sax smolders with clear articulation, and altoist Greg Ward, whose joyfully volatile discourse finds compelling support from the percussive backdrop. 

Another African-flavored number, “Tuku”— a dedication to the late Zimbabwean guitarist Oliver Mtukudzi—flows softly in 3/4 time with an irresistible, dance-like quality that feels dreamlike at times. Bassist Clark Sommers and drummer Dana Hall provide vivid comfort for trumpeter Derrick Gardner’s melodic facility. Both “Kaleidoscope” and “Mrs. Parker of K.C.” delve into odd-meter; the former initially highlights the agile melodic patterns of flutist Anna Webber over a 5/4 tapestry woven by guitar and contra alto clarinet, while the latter, a Jaki Byard composition, features Hesse’s fluid bends, twists, and harmonic colors over a 14-beat bass cycle. Byard dedicated this piece to Charlie Parker’s mother, and Bradfield mirrors that intention with his own “Adelaide Bailey”, unfolding in seven with Ben Goldberg’s sinuously angular contra alto clarinet, joined by melodic horn fills and responsive drumming. Trumpeter Russ Johnson also delivers before the ensemble’s richness takes enter stage. 

Following a vibrant post-bop rendition of Wayne Shorter’s “United”, the album closes with two extraordinary blues pieces: the contemplative “Gandanga Blues”, with its enchanting pulse and emotive solos from bass flute and muted trumpet, and Henry Threadgill’s “Bermuda Blues”, which offers a celebratory reggae-infused Caribbean groove. Colossal Abundance bears the marks of Bradfield’s openness, curiosity, and fearlessness, making it a tasteful opus certainly worth getting lost in. 

Favorite Tracks: 
03 - Adelaide Bailey ► 04 - Tuku ► 09 - Gandanga Blues

Micah Thomas - Mountains

Label: Artwork Records, 2024

Personnel - Micah Thomas: piano; Immanuel Wilkins: alto saxophone; Nicole Glover: tenor saxophone; Adam O’Farrill: trumpet; Caleb Smith: trombone; Kanoa Mendenhall: bass; Kweku Sumbry: drums.

After capturing the public’s attention with his trio albums Tide (2020) and Reveal (2023), as well as his solo effort Solo Piano (2022), pianist Micah Thomas has now ventured into composing for a large ensemble for the first time. The result is Mountains, a live recording from The Jazz Gallery in New York in 2023, featuring 11 tracks that strike a fine balance between structure and freedom—sure to appeal to fans of both contemporary mainstream and avant-garde jazz. The album’s complex charts traverse a range of ambiances, demanding both precision and adaptability from its players.

“Life” starts the proceedings in a lushly orchestrated trade: the four-horn frontline commands attention while the rhythm section weaves an opaque rhythmic flow. Thomas’ solo, denoting motivic and modern classical predispositions, is separated from tenor saxophonist Nicole Glover’s chanting statement through a section packed with unison lines. That’s before a groovy vamp hits us with shades of Latin. The next piece, “Processing”, presents a stratospheric swinging outline reminiscent of George Russell, mixing traditional and avant-jazz currents while melodically pushing in different directions. It sounds just great.

“Lament” highlights trumpeter Adam O’Farrill wandering through a quiet piano landscape, his unexpected intervallic leaps creating moments of surprise as the atmosphere shifts from classical balladry to kinetic radiance. “Libre”, inspired by the duo recordings of Paco de Lucia and Camarón de la Isla, starts as a downright marching rag piece filled with charm and color, but then falls into silent mode, becoming a skimpy yet impulsive reflection. This leads seamlessly into “No Answer”, where horn melodies define a transparent harmonic progression in anticipation to that rag feel, reinstated with an arresting sense of freedom. Alto saxophonist Immanuel Wilkins stands out here with a fearful, visceral, and throaty solo over an unorthodox texture.

Wilkins and O’Farrill dialogue on the vibrant “The Mountain, spreading thoughtful observation over Kanoa Mendenhall’s funky bass strut and Kweko Sumbry’s steamy cymbal environment and punchy kick drum patterns. “Nomad” combines a cool vibe with rhythmic effervescence, featuring engaging exchanges between sax and trumpet, while “Collapse” is a contrapuntal cacophony that radiates energy. The session ends with “Through”, which evolves from drones and buzzes into a gradually cathartic climax.

The album’s consistent arcs of tension and release create a daring and inclusive sonic experience, showcasing the expansive scope of Thomas' compositional vision.

Favorite Tracks: 
02 - Processing ► 05 - No Answer ► 07 - The Mountain

Miguel Zenón - Golden City

Label: Miel Music, 2024

Personnel - Miguel Zenón: alto saxophone; Diego Urcola: trumpet, valve trombone; Alan Ferber: trombone; Jacob Garchik: trombone, tuba; Matt Mitchell: piano; Miles Okazaki: guitar; Chris Tordini: bass; Dan Weiss: drums; Daniel Diaz: percussion.

Puerto Rican alto saxophonist and composer Miguel Zenón has long been a formidable presence in the eclectic jazz scene, known for his deft handling of compositions that seamlessly blend Latin rhythms with contemporary jazz, serving as fertile ground for improvisation. Golden City, his 16th album as a leader, is a visceral work inspired by the rich history of San Francisco and its surrounding areas, specifically from the perspective of its immigrants and minority groups. For this project, Zenón leads a distinctive nonet, featuring a four-horn frontline that includes two trombones.

Written for the Ohlone people, “Sacred Land” makes a terrific post-bop opener, introduced by the sobering clarity of Zenón’s saxophone chants. The piece acquires a polyrhythmic feel before evolving into a delicious rhythm in seven over which there are luminous solos from pianist Matt Mitchell and Diego Urcola, a trumpeter who, on this track, skillfully navigates the valve trombone. Following a sequence of parallel phrases with no harmonic backdrop, Puerto Rican percussionist Daniel Diaz rhythmically accentuates the vamp leading to the thematic melody.

“Rush”, a nod to the California Gold Rush of 1848, unfolds with methodical steps in a 5/4 meter, anchored by pulsating piano and Dan Weiss’ precise drumming. The mood shifts after a while, and the rhythm is intensified for a slightly more turbulent and dramatic finale. “Wave of Change” is bracingly direct, marching optimistically with the horns ‘singing’ a riff that resonates with both protest and victory. The rhythm section shines in its coordinated movements, and the track concludes on a sweet note.

“Acts of Exclusion” is a vehement shout against racism and xenophobia while addressing the Chinese Exclusion Act of 1882. Following a firm pedal point created by bassist Chris Tordini, and a series of wild unison lines, Zenón and guitarist Miles Okazaki lead their own spontaneous riots. While the former serves up a dazzling stream of notes with occasional fractal dimension and a glimmer of Wayne Shorter, the latter creates lavishly with elements of free funk, rock, and experimental jazz in mind. It’s avant-fusion what you get. “Cultural Corridor” transports listeners to San Francisco’s multi-ethnic places, featuring Jacob Garchik on tuba and elated horn playing.

“Displacement and Erasure” critiques gentrification, employing a slow-simmered yet pulsing additive meter flow (3+2). Dave Holland Quintet suddenly comes to mind, and trombonist Alan Ferber delivers an absorbing solo, preceding Zenón’s blend of folk and post-bop dialects.

Golden City is both assured and daring, a manifestation of Zenón’s artistry as a composer, arranger, and world-class saxophonist. The results allow some exquisite finds.

Favorite Tracks:
01 - Sacred Land ► 02 - Rush ► 03 - Acts of Exclusion ► 05 - Displacement and Erasure